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Données mises à jour le 04/09/2026
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Alfonso covets Cristina, the wife of his friend Eduardo, and she enjoys the attention. The trio’s sudden stranding at a monastery full of silent monks only hones their illicit affection… And hastens the return of a lustful monk whose sin cursed him to haunt the monastery forever!
Unknown numbers of movies were lost in the early years of Mexico’s film industry, especially before the country’s cinematic Golden Age in the 1940s and 1950s. But a growing number of them have been rediscovered, restored, and rereleased by Permanencia Voluntaria — and they include Fernando de Fuentes’s EL FANTASMA DEL CONVENTO (THE PHANTOM OF THE MONASTERY), a subversive Gothic horror from that weird post-revolution, pre-war gap.
It’s kind of a thin movie on the face of it, but in this discussion, we pull a lot from it. There’s Mexico’s growing prominence on the world stage, economic favor from the US during World War II, Catholic guilt, and a movie industry reflecting how a nation charted an unknown future. Check it out!
Give to these causes in need during ICE’s occupation of Minnesota:
“Hollywood's Rogue Neighbor: The Argentine Film Industry during the Good Neighbor Policy, 1939-1945” by Tamara L. Falicov https://www.jstor.org/stable/4491220
Show art by Emily Csuy. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: “Tierra Mestiza” by Los Folkloristas from the EL NORTE soundtrack.
Timestamps
0:00 - Episode 398: EL FANTASMA DEL CONVENTO (1934)
1:43 - Whadja Watch This Week?
17:05 - The Patented Aaron Grossman Summary
20:22 - Some important context on early 20th century Mexican film
24:39 - Gothic fiction and the fantastical elements of Mexican art
41:20 - The pacing and structure (it’s too long)
48:08 - How the monastery starts changing our protagonists
1:06:24 - How it brings you into the story and character dynamics
1:15:57 - The Junk Drawer
1:19:56 - To All the Loves We’ve Tried Before: 1934
1:21:42 - Cody’s Noteys: The Phantom of the Indicator (trivia about Trylove films released through Powerhouse Films’s Indicator label)
Episode 397: EL NORTE (1983)
mardi 25 août 2026 • Durée 02:09:11
After being forced from their home, two Guatemalan refugees have no choice but to flee north. Lured by the sheen of capitalist excess in the pages of Good Housekeeping, siblings Rosa and Enrique make the dangerous trek across the US/Mexico border, only to find the dream lives they were promised are nearly impossible for people like them to achieve.
EL NORTE director Gregory Nava traveled to Minneapolis in August 2026 for special screenings of the 4K remaster at the Trylon. Several screenings included introductions and Q\&A sessions of his breakout film, bringing it back into the spotlight as it finds new relevance amid the punishing immigration crackdown of Operation Metro Surge and other ICE operations across the nation.
Give to these causes in need during ICE’s occupation of Minnesota:
There’s a hole in the floor of an apartment in Taipei. It’s an absolute mess for the occupant and his downstairs neighbor. Though they’ve never really met, they discover each other through their awkward circumstance, with each episode inspiring irritation, which turns into hatred, which turns into… Well, you’ll have to see the movie.
Tsai Ming-liang wrote and directed THE HOLE as an experiment, bringing his vision of the year 2000 to the screen. Instead of going sci-fi or hard dystopian, it depicts a society where people live so close, and in such harsh conditions, that they can’t even yearn properly.
Give to these causes in need during ICE’s occupation of Minnesota:
With STREETWISE, director Martin Bell, producer Cheryl McCall, and photographer Mary Ellen Mark created a singular documentary, one that gave voice to Seattle’s street children, rather than pumping in a ton of voiceover and context.
The fact is that Seattle was hit pretty hard in the 1970s, with unemployment reaching as high as 13% in the early ‘80s (three times the national average) and weakening labor power driving more and more people out on the street. Gen X was barely coming of age when many of them saw the lives their hippie parents led — one where post-World War II affluence afforded them a safety net while they railed against ‘the Man’ — and rejected it wholesale, often choosing a life on the streets instead of falling in line.
The affected youths in STREETWISE are cynical, strong-willed, wise well beyond their years, and, in an uncomfortable way, wildly entertaining. It’s impossible not to empathize, even though our perspective is inherently voyeuristic.
Give to these causes in need during ICE’s occupation of Minnesota:
With COOLEY HIGH, screenwriter Eric Monte and director Michael Schultz put the experiences that defined their youth on the screen. Preach (Glynn Turman) and Cochise (Lawrence Hilton-Jacobs) are fast friends and comrades in Chicago’s notorious Cabrini-Green housing projects. Like Monte and Schultz, they spend their days rabble-rousing, chasing girls, losing friends to senseless violence, and the unfairness and inequality that defined the African-American experience in the 1960s.
Beyond its box office success, COOLEY HIGH inspired a generation of artists to share stories that balanced compelling drama with the real issues facing black Americans for decades to come.
Give to these causes in need during ICE’s occupation of Minnesota:
We’re no strangers to Orson Welles on this here podcast… Or are we? Welles first-timer* Tony Wagner returns for a doozy documentary/film/essay from the inimitable auteur himself!
Orson Welles was hired to direct a documentary his friend had filmed on an art forger. But Welles, mired in the endless production of what would become his posthumous THE OTHER SIDE OF THE WIND (2018), couldn’t let it go there. His version expands the scope to include the forger’s biographer, the forger’s biographer’s forgeries, Howard Hughes, and a large-scale interrogation “about trickery, fraud, and lies.”
With Tony, we’re giving F FOR FAKE the T for Trylove treatment, discussing the criticism of art criticism on display, whether or not it’s possible to REALLY criticize this movie, its similarities to YouTube essay culture, and more.
ISAIAH, an interfaith group fighting for racial and economic justice in MN:
Episode 392: Y TU MAMÁ TAMBIÉN (2001) with Lauren Haun
mardi 21 juillet 2026 • Durée 01:22:28
Alfonso Cuarón’s breakout road comedy sex dramedy thing Y TU MAMÁ TAMBIÉN is a rich text that can be read on many levels. We can only get to some of those without help, so we’re joined by first-time Trylove guest Lauren Haun, who’s spent the better part of this century thinking about this movie!
In Mexico during a time of great social and political change, divorcee-to-be Luisa joins Tenoch and Julio for a road trip to an idyllic beach the ribald teens made up literally the day before. Accompanied by an omniscient narrator, the trio vibe (and bang) their way across the desert, but they’re not really ready for what they learn about each other… or themselves.
Episode 391: THE RED SPECTACLES (1987) with Matt Clark
mardi 14 juillet 2026 • Durée 01:47:48
THE RED SPECTACLES is one entry in a long-running multimedia dystopian sci-fi series by the guy who made GHOST IN THE SHELL (1995). It’s one of the wildest, most tone-swingy things we’ve ever seen at the Trylon. It almost feels impossible to fully encircle, one of those flicks that takes hairpin turns just when you think you’ve got a handle on it.
Amidst the confusion, our friend and film writer Matt Clark picks up on some elements that can be traced to Japanese crime films. That’s as good an entry point as any into THE RED SPECTACLES, but we’re doing our usual thing and poking around the edges of this weird movie to see how close we can get to its elusive center!
On Trylove episodes about SHOGUN ASSASSIN (1980), THE LAVENDER HILL MOB (1951), NIGHT MOVES (1975), THE FRIENDS OF EDDIE COYLE (1973), THE ROCKETEER (1991), MIDNIGHT EXPRESS (1978)
Give to these causes in need during ICE’s occupation of Minnesota:
A mythologized decade, a souped-up Challenger, and the man behind the wheel are running out of time in Richard C. Sarafian’s 1971 amphetamine-fueled road trip movie VANISHING POINT!
With 15 hours to make it from Denver to San Francisco in a new white Dodge Challenger, the former cop/driver/motorcyclist/boyfriend actually takes up a bunch of stops. Each detour exposes him to another unique character or group: A snake-catcher selling vipers to desert Pentecostals; fellow drivers looking to prove their mettle; a dead-end hippie commune; gay hustlers hitching a ride. With the help of police and media attention, Kowalski becomes more than a desperate washed-up has-been on the run — for a public turning the page on the 60s, he becomes nothing less than an American hero.
We’re kicking off the Trylon’s big summer program by discussing this cult classic as a time capsule and as an action movie, and figure out how it fits among “end of an era” films.
Note: We recorded this episode before the Trylon started showing the standard cut of VANISHING POINT, so we watched the extended cut, which contains a particular scene we think is pretty important to the point of the movie. We’ve noted the difference in the discussion.
Give to these causes in need during ICE’s occupation of Minnesota:
Episode 389: LADIES AND GENTLEMEN, THE FABULOUS STAINS (1982)
mardi 30 juin 2026 • Durée 02:10:05
Music industry veteran Lou Adler’s second and final directing credit, LADIES AND GENTLEMEN, THE FABULOUS STAINS predated the riot grrrl movement by close to a decade. It effectively pioneered the aesthetic behind the feminist punk movement that took off in the 1990s. Three anxious teens (Diane Lane, Laura Dern, and Marin Kanter) form The Stains, taking the stage in scandalizing outfits and outrageous makeup — and carrying a transgressive message to young women seeking self-expression after the era of sexual liberation.
The Stains have more spirit than talent, but they’ve got bigger problems. A cast of aging rockers (including real members of The Tubes, The Clash, the Sex Pistols, and more) and competitive upstarts (Ray Winstone as a cockney punk) send The Stains’ leader into a self-interested spiral.
Give to these causes in need during ICE’s occupation of Minnesota:
Show art by Emily Csuy. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: “Tierra Mestiza” by Los Folkloristas from the EL NORTE soundtrack.
Timestamps
00:00 - Episode 397: EL NORTE (1983)
2:12 - Whadja Watch This Week?
20:42 - The Patented Aaron Grossman Summary
23:31 - Seeing EL NORTE with a Q\&A by director Gregory Nava
29:07 - The editing and visual flow
49:57 - The shift out of the first act and into hell
57:37 - Empathy and persuasion
1:01:21 - How Rosa and Enrique have to change to fit in in Los Angeles
1:11:14 - The ending and what Enrique takes with him into his life in America
1:30:47 - The Junk Drawer
1:43:39 - To All the Loves We’ve Tried Before: 1983
1:45:41 - Cody’s Noteys: El Formate (trivia about the first films released on various film formats)
Show art by Emily Csuy. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: “Oh! Calypso” performed by Grace Chang from the THE HOLE soundtrack.
Timestamps
0:00 - Episode 396: THE HOLE (1998)
2:15 - Whadja Watch This Week?
14:44 - The Patented Aaron Grossman Summary
17:12 - A movie about the 2000s
24:45 - The dramatic, comedic, absurd mood
26:32 - Water, disease, disenfranchisement, and the slow decay of gravity
34:20 - The human need for solitude vs. the human desire for connection
41:16 - The surprising musical numbers
49:45 - The reuse of actors, characters, and settings in Tsai Ming-liang films
54:39 - Why he leg through hole?
57:23 - Xining Public Housing, the actual ‘haunted’ apartment building
1:04:46 - The consummative, but not necessarily victorious, ending
1:12:47 - The Junk Drawer
1:18:09 - To All the Loves We’ve Tried Before: 1998
Show art by Emily Csuy. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: "Take Care Of All My Children" by Tom Waits from the STREETWISE soundtrack.
Show art by Emily Csuy. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: "It’s So Hard to Say Goodbye to Yesterday" written by Freddie Perren and Christine Yarian and performed by G.C. Cameron from the COOLEY HIGH soundtrack.
Timestamps
0:00 - Episode 394: COOLEY HIGH (1975)
3:15 - Whadja Watch This Week?
26:19 - The Patented Aaron Grossman Summary
28:15 - The 'hangout movie'/'issues movie' dichotomy
Show art by Emily Csuy. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: "Orson's Theme Version 2" by Michel Legrand from the F FOR FAKE soundtrack.
Timestamps
0:00 - Episode 393: F FOR FAKE (1973) with Tony Wagner
2:42 - The Patented Aaron Grossman Summary (under exclusive license from AG Enterprises, Ltd.)
10:10 - The way you watch documentaries will affect your experience
18:18 - When it becomes about more than art forgery
27:43 - The “anti-expert” strain
36:22 - Orson Welles and the “democratizing” of art and criticism
45:59 - The ending with Picasso and Oja Kodar
56:15 - Is F FOR FAKE the most criticism-proof movie we’ve ever covered?
1:04:41 - Recollection, verisimilitude, and WARFARE (2025)
1:10:31 - The Junk Drawer
1:19:07 - To All the Loves We’ve Tried Before: 1973
Show art by Emily Csuy. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: “Watermelon in Easter Hay” by Frank Zappa from the Y TU MAMÁ TAMBIÉN soundtrack.
Timestamps
0:00 - Episode 392: Y TU MAMÁ TAMBIÉN (2001) with Lauren Haun
2:32 - Lauren’s history with Cinema Revolution and the Trylon
7:19 - Whadja Watch This Week?
13:27 - The Patented Aaron Grossman Summary (under exclusive license from AG Enterprises, Ltd.)
19:26 - Luisa and a movie about mothers
29:00 - The omniscient voiceover
38:16 - NAFTA, globalization, the PRI, and global pressures changing Mexico
46:13 - The soundtrack and locations, and what they say about the characters
50:33 - It’s bad sex!
1:00:29 - The ending and what Julio and Tenoch ‘choose’
Show art by Emily Csuy. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: “Main Title” by Kenji Kawai from the THE RED SPECTACLES soundtrack.
Timestamps
0:00 - Episode 391: THE RED SPECTACLES (1987) with Matt Clark
3:13 - Whadja Watch this Week?
18:58 - The Patented Aaron Grossman Summary
22:39 - Matt’s coverage of Japan’s lost decade of cinema
28:51 - Aaron, the GHOST IN THE SHELL fan
38:18 - The switch from color to black and white
47:04 - Balancing the slapstick and stoicism
56:09 - The moment when you were bought in
1:01:58 - An egotistical odyssey
1:11:48 - The Junk Drawer
1:21:20 - To All the Loves We’ve Tried Before: 1987
1:26:33 - Cody’s Noteys: The TED Spectacles (guessing view counts on TED Talk videos)
Show art by Emily Csuy. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: “Mississippi Queen” by Mountain from the VANISHING POINT soundtrack.
Timestamps
0:00 - Episode 390: VANISHING POINT (1971)
2:02 - Whadja Watch This Week?
27:19 - The Patented Aaron Grossman Summary (under exclusive license from AG Enterprises, Ltd.)
28:22 - The weird tension of VANISHING POINT as an ‘end of an era’ movie
46:06 - Reckoning with what the ‘60s didn’t end up being
50:43 - How Kowalski becomes a torchbearer for the American spirit
57:38 - The Cannonball Run and the arbitrary desire to race across the desert
1:05:33 - The distinctly American nature of the story
1:10:35 - The Charlotte Rampling scene and the ending
1:23:06 - The Junk Drawer
1:31:17 - To All the Loves We’ve Tried Before: 1971
1:35:51 - Cody’s Noteys: Vanishing Joint (trivia tangent to Minneapolis-area hangout spots that have closed)
Show art by Emily Csuy. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: “I Slept in an Arcade” by Black Randy and the Metrosquad from the LADIES AND GENTLEMEN, THE FABULOUS STAINS soundtrack.
Timestamps
0:00 - Episode 389: LADIES AND GENTLEMEN, THE FABULOUS STAINS (1982)
02:04 - Whadja Watch This Week?
21:27 - The Patented Aaron Grossman Summary (under exclusive license from AG Enterprises, Ltd.)
24:12 - A movie that’s unsure what it wants to say
37:15 - Filmmakers admitting they have no idea what the kids are up to
47:54 - What we wished we’d seen in THE FABULOUS STAINS
59:31 - Lawnboy
1:13:25 - Figures, real and imagined, who throw things a bit out of whack
1:19:22 - The ridiculous ending
1:26:57 - The Junk Drawer
1:39:07 - To All the Loves We’ve Tried Before: 1982
1:42:53 - Cody’s Noteys: The Sabulous Grains (sandpaper trivia)
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